画家的

Ann Kaplan and Mary Ann Doane to explain Griet's fight back to the oppression she has suffered. In so doing, I will try to prove that female gaze may overwhelm male gaze, and this analogically proves that painter may successfully keep his own style.

Ann Kaplan与唐安所主张的女性凝视理论，让小说女主角葛里叶一一回击她在第二章里所受到的男性凝视的压迫，想证明女性凝视有征服男性凝视的可能，亦即画家的自由意志能不受外在影响而保有自我风格。

He was also keenly aware of the value of publicity, and tried to use his indirect connexion with Gillray to get himself featured in one of the caricaturist's prints: which by that time was a sure sign of having 'arrived' politically.

他敏锐地意识到了公共宣传的价值，他试图利用自己与吉尔瑞的拐弯抹角地联系在画家的作品中一展尊容，这在当时可是踏入政治圈子的不折不扣的标志。

Eventually, Vermeer compromises and just paints Griet by herself. However, he makes her wear his wife Catharina's pearl earrings. When Catharina discovers this, Griet is forced to leave.

在画家的家里，葛丽叶第一次接触到了奇妙的绘画世界，这些美妙的绘画唤醒了她潜在的艺术敏感，与此同时，维梅尔也被葛丽叶的艺术天分和美好气质打动，他经常要葛丽叶帮助调配画料。

The sketchbooks of Western artists are filled with such studied, which, by their improvisatory unfinished openness, allow the white paper background to play a primary role in the visual effect.

西方画家的速写本中常常画满此类写生，未完成的创作构图式的空白使背景的白色起着一个重要的视觉效果。

Through the implication of painting works analyses the variation at humanity expression by generational painters from the western Renaissance to 19 century,so that,affirms that the painting works at the stage have unignored value in human painting history.

从绘画作品蕴藏的内涵，剖析西方文艺复兴至 19世纪历代画家的人性表达的变化，从而肯定这段时期的绘画在人类绘画史上具有不可忽视的价值

Trough his artworks, people see the young artist ' s hard-working and straight to art. Though everything is in discovering," Young tiger creaming the cereal, hundreds beasts shining brilliant, hawk trying fly, wind and dust are arrogant ", Youth ' s life-force and encouragement can not neglect.

通过他的作品，让人看到了这位青年画家的勤奋和对绘画的执著，尽管这一切还在探索之中，&乳虎啸谷，百兽振煌，鹰隼试翼，风尘吸张&，年轻者的生命力和勇气是不能忽视的。

Clark defines modern art as work that responds to a social order which has turned away from the worship of ancestors and past authorities to the pursuit of a projected future-of goods, pleasures, freedoms, forms of control over nature, or infinities of information.

贝克曼和契里柯等画家的包含人体的作品中，人体只有通过强烈的扭曲才能被识别。只有真正抗拒人们对之施以安逸理解的前沿艺术，才能触碰到现代生活里残酷的不确定性。

The painting of a scholar originally should be displays to the realistic physical image essence, at the same time it the load China culture connotation and painter's knowledge, the tutelage and so on, are the source in the good fortune and the heart source, but also inevitably created some people to be separated from the life, followed becomes common practice, imitated constantly the very good tradition becomes the statement cliches.

文人画本应是对现实物象的本质表现，它同时负载着中国文化的内涵和画家的学识、修养等，是源于造化和心源的，但也不可避免地造成了一些人脱离生活，因袭成风，把很好的传统一味模仿而成为陈词滥套。

The Futurist principle of "dynamism" as an expressive means, the painters' emphasis on process rather than on things (for which they cited the teachings of Henri Bergson as authority), and their emphasis upon the intuition and its power to synthesize the manifold experiences of sense and memory in a coherent "simultaneity," had profound effects on other movements: the Constructivists and their various branches, the English Vorticists, and subsequently on Dada and Surrealism.

未来学的原则&活力&作为表现手段画家的过程，而非着重于事物(它们引用作为权威的遗训亨利柏格森)他们强调，在权力和直觉融会贯通多重意义的经验和记忆在连贯&的同时，&深刻影响其他动作：建构及其各分支机构，vorticists英语、随后在百货公司、超现实。

With exquisite techniques and vivid portrayals , they are creating works of eternal memory.

细腻的手法、生动的造型，世间的一切在画家的笔下都成了永恒的记忆。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。